Kinefinity has just realeased a major update for their Terra cinema cameras. The KineOS 6 update brings a completely overhauled user interface (UI) and a lot of new features, although surprisingly many of those are only available for the Terra 4K, not the 6K.
You can download KineOS 6 for Kinefinity Terra 4K and Terra 6K right now as a free update. Both cameras will benefit from an upgraded UI but only the Terra 4K will get the whole package of new and improved (technical) features. Read all about these cameras here.
Kinefinity KineOS 6 Update
The layout of key parameters has been revamped in order to achieve a cleaner look and feel without having to search for the most frequent settings all the time. Here’s a list of all the new and improved UI fetaures:
Interface redesigned: New layout of key parameters such as clip name, timecode and codec format.
Key Parameters Tuning: Define shortcut buttons in order to change key parameters such as ISO, iris, color temperature, ND stops etc.
A waveform exposure assistant is now available.
New Setup Menu which is easy to read and operate.
The Kinefinity Terra 4K is now able to record compressed RAW in cinemaDNG format. This feature is still in beta (‘test version’) but you can already try it for yourself. Choose between 3:1, 5:1 or 7:1 compression ratios and record compressed RAW cDNG directly in-camera. The Terra 4K inherits this feature from the MAVO. Note: Even though you can download KineOS for the Terra 6K, this compressed RAW feature is only available for the Terra 4K.
Kinefinity offers some notes on this feature: 1) KineLog will be burned in when you record comressed RAW in cinemaDNG (which will be handled by DaVinci Resolve natively). 2) You will have to grade from scratch after importing the footage in DaVinci Resolve because cinemaDNG and ProRes footage require very different workflows. 3) Playback of cinema DNG footage will be very slow, the speed will increase in future firmware versions, though.
KineOS 6 offers some new oversampling options. The camera uses all the pixels of the CMOS sensor and outputs 2K/Full HD footages which usually improves the overall image quality and reduces the noise level. Again, only the Terra 4K will support this feature.
Another big improvement of KineOS is the ability to shoot anamorphic with the Terra 4K camera. You can choose between an anamorphic mode (3700 × 2700 pixels) and an open gate mode (full sensor -> 4096 × 2700 pixels). If used with a 2x anamorphic lens, the de-squeezed image will sport a whooping 7400 x 2700 resolution. When using either of these new anamorpfic modes the framerate is limited to 50 fps. You guessed it, only the Terra 4K will benefit from these new shooting modes.
Other Improvements
Apart from the major updates of KineOS 6, the company has squished a few bugs and polished some features. here is list of some minor improvements:
Optimized In-camera LUT: more balanced color for fast workflow.
Added project frame rate: 48, 50, 59.94, 60fps.
Fixed the abnormal image when start up.
Fixed freeze issue at some operations.
Optimized black shading of TERRA 4K.
Fixed system crash when adjusting ISO under certain color temperature.
Fixed the mismatch of exposure compensation in menu setting.
Optimized the highlight performance for TERRA 6K in some special case.
Change the minimum frame rate of TERRA 4K to 6fps.
The KineOS 6 update can be downloaded now for free over at Kinefinity.com. The Terra 4K is $3,999 and the Terra 6K is $5,999. If you can wait just a little bit longer, the $7,999 MAVO (read our initial coverage here) might be an option, too.
Do you own a Terra 4K or 6K camera? What are your thoughts about this update? Let us know in the comments below!

UPDATE, May 17th: FUJIFILM has pulled down their newly released 4.0 firmware due to malfunction. None of the discovered problems are video related. For more information head to the full press release here: http://www.fujifilm.com/news/n180517.html
The latest FUJIFILM X-T2 firmware update brought a few new great features for this ageing camera – one of them is the ability to record 120 frames per second in full HD quality.
Firmware 4.00 for X-T2
Firmware Ver 4.00 for FUJIFILM X-T2 featuring internal F-log recording (watch my video testing that here), 120fps in full HD quality and better autofocus (just to name a few), is now available for a free download. We can only salute FUJIFILM for bringing such a major update for what used to be their flagship camera until recently – their current top model, the X-H1, could very well be cannibalised by this free upgrade.
One feature that both cameras now share is high frame rate recording. Based on frequent requests we had since the introduction of this update, I went out to check how close (or not) the two cameras perform under similar (or identical) conditions and settings.
Similar Battery Life, Almost identical AF, Slightly Different F-log
As a “side dish”, this short comparison between the two cameras also revealed that their battery life is very similar and their autofocus capabilities are almost identical with a slight upper hand to the X-T2. (This firmware update REALLY upgraded the X-T2 AF effectiveness. Hopefully the same will be said when and if the X-H1 gets the same treatment). On the other hand, I was surprised to see that the internal F-log recording characteristics is a bit different between the two camera, (The FUJIFILM X-H1 tends to be warmer), so assuming one will be using both on the same project, take into consideration that it might result in a bit more time consuming color grading.
Ungraded image from the timeline. Note the wormer tint of the X-H1
High Frame Rates Comparison between X-T2 and X-H1
Now, with so much pre-text, I can already see some of you raising concerns if I actually forgot the reason to why we are actually here…..Well, back to the high frame recording quality comparison between the FUJIFILM X-T2 and X-H1. Let me start with the end result. Although the sensor and processor behind both cameras are identical and the recording data rate is the same, the FUJIFlIM X-H1 produces the cleaner image between the two when shooting slow-motion. True, the image is far from being free from artifacts, but on close inspection, the X-H1 is simply better.
Both cameras were tuned for having similar settings but shutter speed. Explanation, below
I’ll leave you with some casual images that I took as it worth more then a thousands words….
Both cameras were set to F-log, had the same lens, variable ND filter, aperture, WB settings. similar shutter speed (The X-T2 will not do 24o but rather 250 shutter). Edited in Adobe Premiere latest edition and graded with FilmConvert (X-T2 F-log preset).
Music supplied by Art-List: Sound track for the above video, Everybody Get Up by Gran Torino120 fps is BETTER in the X-H1 then the X-T2
What do you think about the high frame rate quality that the FUJIFILM cameras can produce? Is this sufficient for your professional work? Let us know in the comments section below!

UPDATE, May 17th: FUJIFILM has pulled down their newly released 4.0 firmware due to malfunction. None of the discovered problems are video related. For more information head to the full press release here: http://www.fujifilm.com/news/n180517.html
FUJIFILM has just announced a firmware update for its popular X-T2 camera. The update contains the much anticipated internal F-Log recording, 120fps in full HD mode and more!
Man at work
It is nice to see that FUJIFILM has listened to their customers, who requested internal F-Log recording in order to upgrade the quality of their work, especially after including that features in the newer FUJIFILM X-H1. If you have been following our recent FUJIFILM coverage, you know that we’ve already hinted towards the arrival of an internal F-Log recording for the X-T2 back in November 2017 when interviewing Watanabe-san of FUJIFILM. I’ve already tested and reviewed the X-T2 back in 2016, so although this is not a full X-T2 review, I’ve decided to take it for a spin and see how well (Or not) it behaves with the new firmware update and check if it can match with the newer X-H1 performance, when it comes to shooting video.
The advantage of using F-Log (Taken from the timeline. Click to enlarge)
Why would we want record in “F-Log” log-gamma mode?
In a nutshell, the are two main reasons as to why to shoot in this mode. The first one is to get the best available dynamic range the camera can provide. This will allow for the opportunity of recovering highlights and seeing details in the darker areas of the image in a better way. The second reason is the possibility to paint the footage and color correct the recorded flat images to your liking. Look at the above slide taken from the timeline and see the highlights in the background. This shows the difference between an image with “backed color” (Left) and one that a LUT was applied to (Right). It’s easy to spot where the highlights are preserved in a better way.
Dive into the FUJIFILM X-T2 menu, in VIDEO MODE
FUJIFILM X-T2 in the filed (New firmware related observation):
If you are familiar with FUJIFILM’s camera menu, then setting up the X-T2 won’t be a problem although one might find it challenging to locate the new F-Log settings. Unlike with the X-H1, this option is buried in a sub menu (4K MOVIE OUTPUT) and not on the front MOVIE SETTING page. I can suspect that due to a hardware limitation, this option could not be brought to the front menu page. When it comes to grading the F-Log footage itself, I’ve gotten a bit of a mixed bag results, especially when referring to skin tones. (I can relate what I see to 8bit color sampling limitation). As the firmware is now available to download I’m actually very curious to hear and see what people will come up with. (I’ll update this post with my observation after double checking the footage I’ve got). One more thing to be aware of is the possibility to get “turn off and on again” error note. I got this message multiple times during my shooting day and I could not determine why it is happening. On the positive side, the new 1080/120fps setting really looks good! (The footage in my video is all upscaled to 4K in order to match the rest of the timeline setting). Last but not least, the ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor is a superb thing. I guess you have to be over a certain age in order to appreciate such a feature…..
FUJIFILM X-T2 vs. X-H1 (Video mode):
Although the bridge between the cameras has just been narrowed, to my opinion the upper hand still goes to the X-H1. With its higher data rate recording, Internal body stabilization, the possibility to shoot in ETERNA film simulation mode out of the box and touchscreen autofocus (Just to name a few), the X-H1 certainly has the lead.
FUJIFILM Firmware Ver. 4.00 Update – Key Features:
Internal F-log to SD card recording function.
Addition of 1080p 120 frames per second mode.
Compatibility with the newly developed FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9 cinema lenses. Aperture information can be displayed on the monitor. The upgrade allows users to select T-stop or F-stop. The upgrade allows users to check the focus distance with the distance indicator shown in the monitor. Automatically corrects the distortion and the color/brightness shading. Camera automatically calculates the White Balance based on the lens position and delivers the color expressions with Film Simulation modes.
Ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor (this feature is newly available for all cameras that get the firmware update).
Conclusion:
FUJIFILM did well in listening to their customers by giving “new life” to one of their most popular cameras. All in all, this is a capable video shooting device that can perform well when treated right. (Don’t forget to take a stabilized lens or a tripod with you when out and about). I also have to highlight the camera’s sound quality! To my opinion, FUJIFILM is doing exceptionally well when it comes to sound recording in the X-T2 and X-H1 compare to other stills cameras manufactures.
The “caffe latte” part of the above video was shot on FUJIFILM X-T2, F-Log enabled and was edited in Adobe Premiere latest edition. Color graded with FilmConvert (X-T2 F-Log profile).
Downloads: FUJIFILM X-T2 firmware Ver 4.00. ETERNA LUT for F-log, Ungraded version of the video to play with. (Then press the download button).
Many thanks to Dinah, her family and the staff at caffe latte. Find out more about the place by clicking here.
Music by Art-List Tracks: Clear Skies by Rex Banner and DuDa by Gran Torino
What do you think of the new FUJIFILM Firmware update? Are there any X-T2 users who are welcoming the F-log feature? Let us know in the comments below.

At this NAB show, we caught up with Atomos’ Jeromy Young and he walks us through the brand new ProRes RAW format and everything there is to know about it. Let’s dive right in!
ProRes has always been the go-to standard (on a Mac, at least) when it comes to NLE-friendly postproduction workflows since it’s not only an aquisition codec but an intermediate and possibly a delivery codec as well. The all-new ProRes RAW is no exception, it’s RAW for the masses.
Apple ProRes RAW
Atomos and Apple have teamed up to develop this new format. It’s designed to simplify and streamline the sometimes cumberstone RAW workflow. Every camera manufacturer has its own RAW format and you’ll need to adapt to all kinds of workflows here. The only exception would be cinemaDNG here but that’s not a very NLE-friendly format, too. ProRes RAW, on the other hand, has usability right built-in. It is designed to cover everything from capturing straight to editing and grading. It gets you the usability of ProRes combined with the flexibility of RAW. But keep in mind: Only Apple FinalCut Pro X 10.4.1 supports this new format for the time being. Others will follow, that’s for sure.
Sensor data processed in-camera.
Video cameras normally process the RAW sensor data (individual sensels in a Bayer pattern) internally and create RGB video pixels which are then being compressed to the recording codec. The processing is baked in and can not be manipulated afterwards. The ProRes RAW workflow on the other hand takes all the RAW data and records it straight to the ProRes RAW format. This enables you to manipulate the demosaicing within FinalCut Pro X. Since the ProRes format is NLE-friendly, no additional rendering or transcoding is needed. You can start editing, grading and fine-tuning right away.
ProRes RAW workflow.
Two flavours of this new format are available: ProRes RAW could be seen as the equivalent to ProRes 422 HQ in terms of data rate. And then there is ProRes RAW HQ, which is the ProRes 4444 XQ of RAW. We’re looking at a compressed RAW format here and this actually makes a lot of sense. Uncompressed 12-Bit RAW will urge the need of bringing vast arrays of very fast SSDs to your shoots in order to keep up with the data rate.
If you want to dig deeper in to the inner workings of ProRes RAW, this whitepaper (PDF) created by Apple might be worth a closer look.
Atomos, Apple & DJI
The more recent Atomos monitors/recorders have ProRes RAW support built-in already. You can download new firmware versions which enable the support for ProRes RAW for the Shogun Inferno and Sumo 19 monitors/recorders right now. You can download these here. These firmware updates enable you to record very high quality RAW data up to 12-Bit (depends on your cameras’ capabilities, of course) straight to ProRes RAW. Furthermore the freshly announced Atomos Ninja V is at least capable of recording ProRes RAW, too. It’s not licensed for that yet but I guess it’s only a matter of time (and a matter of cameras being able to output RAW over HDMI).
A bunch of cinema cameras capable of outputting RAW data. Is yours among them?
DJI have some updates ready for their X7 camera, too. You’ll need to wait just a littler for this, though. It should be ready in May this year. I’d say compressed and ready-to-edit RAW straight from a very portable drone camera sounds pretty impressive!
All in all ProRes RAW could be the solution for others to follow. No more different proprietary RAW formats for each and every camera and no more ridiculously large file sizes with uncompressed RAW formats. Let’s see where this is leading us in terms of RAW and HDR workflows.
Links: Apple whitepaper (PDF) | Atomos.com | DJI.com
What do you think of this move by Apple? Does RAW finally become mainstream? Share your thoughts in the comments below!